46,646 research outputs found
Toward an ecological aesthetics: music as emergence
In this article we intend to suggest some ecological based principles
to support the possibility of develop an ecological aesthetics. We consider that
an ecological aesthetics is founded in concepts as “direct perception”,
“acquisition of affordances and invariants”, “embodied embedded
perception” and so on. Here we will purpose that can be possible explain
especially soundscape music perception in terms of direct perception, working
with perception of first hand (in a Gibsonian sense). We will present notions
as embedded sound, detection of sonic affordances and invariants, and at the
end we purpose an experience with perception/action paradigm to make
soundscape music as emergence of a self-organized system
Toward an ecological conception of timbre
This paper is part of a series in which we had worked in the last 6 months, and, specifically, intend to investigate the notion of timbre through the ecological perspective proposed by James Gibson in his Theory of Direct Perception. First of all, we discussed the traditional approach to timbre, mainly as developed in acoustics and psychoacoustics. Later, we proposed a new conception of timbre that was born in concepts of ecological approach.
The ecological approach to perception proposed by Gibson (1966, 1979) presupposes a level of analysis of perceptual stimulated that includes, but is quite broader than the usual physical aspect. Gibson suggests as focus the relationship between the perceiver and his environment. At the core of this approach, is the notion of affordances, invariant combinations of properties at the ecological level, taken with reference to the anatomy and action systems of species or individual, and also with reference to its biological and social needs. Objects and events are understood as relates to a perceiving organism by the meaning of structured information, thus affording possibilities of action by the organism.
Event perception aims at identifying properties of events to specify changes of the environment that are relevant to the organism. The perception of form is understood as a special instance of event perception, which is the identity of an object depends on the nature of the events in which is involved and what remains invariant over time. From this perspective, perception is not in any sense created by the brain, but is a part of the world where information can be found. Consequently, an ecological approach represents a form of direct realism that opposes the indirect realist based on predominant approaches to perception borrowed from psychoacoustics and computational approach
Estimative for the size of the compactification radius of a one extra dimension Universe
In this work, we use the Casimir effect to probe the existence of one extra
dimension. We begin by evaluating the Casimir pressure between two plates in a
manifold, and then use an appropriate statistical analysis in
order to compare the theoretical expression with a recent experimental data and
set bounds for the compactification radius
Classification of Triadic Chord Inversions Using Kohonen Self-organizing Maps
In this paper we discuss the application of the Kohonen Selforganizing
Maps to the classification of triadic chords in inversions and root
positions. Our motivation started in the validation of Schönberg´s hypotheses of
the harmonic features of each chord inversion. We employed the Kohonen
network, which has been generally known as an optimum pattern classification
tool in several areas, including music, to verify that hypothesis. The outcomes
of our experiment refuse the Schönberg´s assumption in two aspects: structural
and perceptual/functional
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